Take Me to Church – The madness and soil of that sad earthly scene. #MusicisLife #TedTocksCovers #Hozier

March 17, 2024March 17, 2024 ~ tedlindsay0170 ~ 2 Comments

When Hozier sat down and wrote the lyrics for ‘Take Me to Church’ his mind was whirling with thoughts that ranged from a recent break up all the way to a conflicted relationship with religion in his native Ireland. The song was written in the wee hours of the morning in his ‘studio’ that resided in the attic of his parent’s home. At the time, Hozier was a struggling musician hoping to generate some attention in the Dublin open mic scene.

Over time, Hozier tweaked the lyrics and worked on the presentation. Three months later he landed on a combination he liked which included just himself on vocals and all instrumentation other than drums. For that you can thank Fiachra Kinder.

The demo caught the attention of a local independent label called Rubyworks. This connection led to producer Rob Kirwan who combined Hozier’s powerful original vocals with live instrumentation

The irony of the video that accompanies today’s song is that the it comes with a parental advisory, yet people still flock to the ‘church’ every Sunday and expose their children to the heights of hypocrisy. Through the lyrics Hozier manages to convey his thoughts in the form of an intense five-minute metaphor, and he did so on the razor’s edge when he conjured up religious imagery to channel his frustration.

Growing up in Ireland, the church is always there – the hypocrisy, the political cowardice. The video has the same theme – an organization that undermines humanity.”
Hozier

Ultimately, it was the video that really laid his thoughts to bare. For this courage and conviction, you can credit Sinead O’Connor.

I don’t think I would feel licensed in my generation to write ‘Take Me to Church’ about the institutionalized Roman Catholic church and its legacy in Ireland if it weren’t for artists like Sinéad,”
Hozier

He went on to elaborate.

Coming from Ireland, obviously, there’s a bit of a cultural hangover from the influence of the church. You’ve got a lot of people walking around with a heavy weight in their hearts and a disappointment, and that shit carries from generation to generation. So, the song is just about that – it’s an assertion of self, reclaiming humanity back for something that is the most natural and worthwhile. Electing, in this case a female, to choose a love who is worth loving.”
Hozier

Through the video for ‘Take Me to Church’ that was shot on a budget of approximately $3000, Hozier was actually trying to bridge the culture of shame related to sexuality in Ireland and the stories that were coming out of Russia related to the repression and persecution of the LGBTQ community.

Sexuality, and sexual orientation regardless of orientation is just natural. An act of sex is one of the most human things. But an organization like the church, say, through its doctrine, would undermine humanity by successfully teaching shame about sexual orientation that it is sinful, or that it offends God. The song is about asserting yourself and reclaiming your humanity through an act of love.”
Hozier

Hozier and the production team effectively tell the tragic story of two men who were in an intimate and romantic relationship, but living in fear of discovery. To their horror, a lynch mob appears and one of the men is kidnapped, dragged into a forest and brutally beaten. The shocking presentation depicts a reality that exists for many even a decade after ‘Take Me to Church’ was initially released back in 2013. What’s more troubling is the groundswell of support that is brewing for those dubious factions who claim to speak to morality in present day politics. As always, when one lifts the veil, only ignorance and prejudice is exposed.

Once again, religion and hypocrisy walk hand in hand. In my eyes, these factions are never to be trusted.

According to Hozier, the line “I was born sick, but I love it. Command me to be well” was inspired by Elizabethan dramatist named Fulke Greville who wrote a poem in 1954 called ‘Chorus Sacerdotum’ which speaks of mankind being “created sick, commanded to be sound.”

These words accurately describe our conflicted relationship with religion and the evil factions that exploit the masses using such doctrines as a tool of morality and social control.

O wearisome condition of humanity!

Born under one law, to another bound;

Vainly begot and yet forbidden vanity;

Created sick, commanded to be sound.

What meaneth nature by these diverse laws?

Passion and reason, self-division cause.

Is it the mark or majesty of power

To make offenses that it may forgive?

Nature herself doth her own self deflower

To hate those errors, she herself doth give.

For how should man think that he may not do,

If nature did not fail and punish, too?

Tyrant to others, to herself unjust,

Only commands things difficult and hard,

Forbids us all things which it knows is lust,

Makes easy pains, unpossible reward.

If nature did not take delight in blood,

She would have made more easy ways to good.

We that are bound by vows and by promotion,

With pomp of holy sacrifice and rites,

To teach belief in good and still devotion,

To preach of heaven’s wonders and delights;

Yet when each of us in his own heart looks

He finds the God there, far unlike his books.

Fulke Greville

Rather than dwell on the philosophical nature of the lyrical presentation Hozier reduces the introduction to his love interest’s inappropriate affect.

Have you ever burst your shit laughing at Church? I think it’s something that all Irish people have experienced at some point. There’s a unique, wonderful aspect to an expression of irreverence in the face of what should be reverential.”
Hozier

It’s a real thing. The psychological term is actually called Pseudo Bulbar Affect which can be translated to emotional incontinence.

It is thought to be related to lesions in the cortex responsible for emotional control aspects, the bulbar nuclei, the physiological effector, and the hypothalamus which integrates the two. In this context, people can exhibit sudden and exaggerated expressions of emotion (laughter and crying) that may or may not be demonstrative of their mood at the time.”
Pseudo Bulbar Affect

Here is Hozier’s powerful lyrical presentation. ‘Take Me to Church’ can only be described as essential in every way. Hozier reveres his love interest and regrets the passing of their relationship enough to write this soaring poetry. Listen and feel it build.

My lover’s got humour
She’s the giggle at a funeral
Knows everybody’s disapproval
I should’ve worshipped her sooner

If the heavens ever did speak
She’s the last true mouthpiece
Every Sunday’s getting more bleak
A fresh poison each week

“We were born sick,” you heard them say it

My church offers no absolutes
She tells me, “Worship in the bedroom”
The only heaven I’ll be sent to
Is when I’m alone with you

I was born sick
But I love it
Command me to be well
Aaay. Amen. Amen. Amen

Take me to church
I’ll worship like a dog at the shrine of your lies
I’ll tell you my sins so you can sharpen your knife
Offer me that deathless death
Good God, let me give you my life
Take me to church
I’ll worship like a dog at the shrine of your lies
I’ll tell you my sins so you can sharpen your knife
Offer me that deathless death
Good God, let me give you my life

If I’m a pagan of the good times
My lover’s the sunlight
To keep the Goddess on my side
She demands a sacrifice

Drain the whole sea
Get something shiny
Something meaty for the main course
That’s a fine-looking high horse
What you got in the stable?
We’ve a lot of starving faithful

That looks tasty
That looks plenty
This is hungry work

Take me to church
I’ll worship like a dog at the shrine of your lies
I’ll tell you my sins so you can sharpen your knife
Offer me my deathless death
Good God, let me give you my life
Take me to church
I’ll worship like a dog at the shrine of your lies
I’ll tell you my sins so you can sharpen your knife
Offer me my deathless death
Good God, let me give you my life

No Masters or Kings
When the Ritual begins
There is no sweeter innocence than our gentle sin

In the madness and soil of that sad earthly scene
Only then I am human
Only then I am clean
Ooh oh. Amen. Amen. Amen

Take me to church
I’ll worship like a dog at the shrine of your lies
I’ll tell you my sins so you can sharpen your knife
Offer me that deathless death
Good God, let me give you my life
Take me to church
I’ll worship like a dog at the shrine of your lies
I’ll tell you my sins so you can sharpen your knife
Offer me that deathless death
Good God, let me give you my life”
Hozier

If you get the sense that Hozier literally laid his soul to bare as he wrote this song you are correct.

I found the experience of falling in love or being in love was a death, a death of everything. You kind of watch yourself die in a wonderful way, and you experience for the briefest moment – if you see yourself for a moment through their eyes – everything you believed about yourself gone. In a death-and-rebirth sense.”
Hozier

This is among the many reasons that ‘Take Me to Church’ became a global hit. It went to #1 in five- countries, and #2 in eight others.

‘Take Me to Church also holds the distinction of being the highest charting song in Hot 100 history, slightly ahead of ‘Church of the Poison Mind’ by Culture Club.

Take a listen to Hozier as he delivers ‘Take Me to Church’ in an acoustic setting. It is fantastic, no matter how it is presented.

It is this broad appeal that led to ‘Take Me to Church’ becoming the most streamed track on Spotify in 2014; a mind boggling 87 million times

The accolades kept coming as ‘Take Me to Church’ received a Grammy nomination. While it did not win, the show did feature a duet with Annie Lennox, who reluctantly agreed to share the stage with Hozier in a medley that included ‘I Put a Spell on You’.

Lennox simply did not feel Hozier’s words were hers to share.

Due to its immense popularity, there are some interesting covers of ‘Take Me to Church’. Although a few are offered by some huge names in the recording industry, like Ed Sheeran, it is Ted Tocks opinion that the best come from the lesser-known names. Here are a handful of takes on ‘Take Me to Church’ beginning with Sheeran’s sped up delivery. Likely the weakest.

The first thing that struck me about Sofia Karlberg’s offering was the fact that she has over 62 million views. Then I listened and became captivated. She knocks this out of the park. Just a stunning cover.

Ted Tocks Covers has featured Demi Lovato in the past. She was part of a piece that profiled ‘Katy Perry’s ‘Roar’. This is really good, but it lacks the fiery explosion shared in Sofia’s cover. This is not a criticism. It is simply the truth.

Over the past couple of years, I have become a huge fan of Postmodern Jukebox. This cover features Morgan James on vocal and Scott Bradlee on piano. This is so expressive it almost brings you to tears. It presents like a one act play.

To conclude the musical portion of today’s feature, please enjoy Maren Morris and Hozier on stage in Nashville on CMT.

Knowing what I know about Tennessee I am only left with the concern that at least one third of the audience thinks ‘Take Me to Church’ has positive connotations in its reference to religious imagery. Regardless Hozier and Morris work well together and you can tell that this collaboration is borne out of a mutual respect.

When it all comes down to it, the underlying theme is the fact that way too often religion has been a destructive force in world history. Ultimately, as the collection plate is passed around, the comment on the report card could say that promises are made but rarely kept.

Wars have been fought and lives and generations have been destroyed, leaving communities in tatters. In the wake of it all, despite the fact all evidence points to religious factions being at the root of the conflict there has frequently been little or no retribution.

For just one example Ted Tocks Covers turns the camera toward Canada. Once known as the global bastion for social justice and equality. Sadly, the grim reality of this tale aligns directly with the Fathers of Confederation in 1867

What do we do about the Indian problem?

Enter the Canadian Indian residential school system which evolved out of the formation of the Indian Act in 1876. Truth be told, the premise of residential schools had been discussed long before confederation. In practice it would see a network of schools funded by the Canadian government’s department of Indian Affairs and (gasp) administered by Christian churches. The ultimate goal was to isolate Indigenous children from their traditions, culture and religion and assimilate them into colonial or Canadian culture. By 1894, under the leadership of Prime Minister Mackenzie Bowell attendance in these schools was made mandatory for all first nations children. Residential schools were purposely established hundreds of miles away from Indigenous communities. This was all in in an effort to minimize interaction between the children and their families. Canada’s dark secret was orchestrated by a century of governments in lock step with the trusted leaders of Canada’s religions community.

The harm that was done to Indigenous children borders on immeasurable. Generations of children were removed from their family environment and deprived of learning their traditional languages and experiencing their culture. The atrocities extended to malnutrition, starvation and rampant disease, and then escalated to physical and sexual abuse that have left families scarred for decades. This generational trauma has manifested itself in severe post-traumatic stress disorder, alcohol and drug addiction and suicide.

By 2008, under Prime Minister Stephen Harper, Canada established the Truth and Reconciliation Commission. In mid-2015 the Commission concluded that what occurred during this dark period amounted to cultural genocide.

As a result of the Commission’s findings, Catholic entities were ordered to pay $25 million in restitution, but in reality, they only paid approximately $4.6 million before their debt was wiped clean

Around the time that the Harper Government relinquished control to Justin Trudeau’s Liberals, Canada agreed to “forever discharge” what was termed as Catholic entities from their agreement to raise the money for residential school survivors. Shockingly, for some reason the Catholic interests also had their legal debt forgiven.

To this day, the decision-making surrounding this remains somewhat of a mystery…

Ry Moran who is librarian at University of Victoria and founding director of the National Centre for Truth and Reconciliation has been a vocal proponent for transparency, but for almost a decade no one has offered an explanation.

Like all questions around accountability, the question is, ‘Who made the decision? How was that decision made? Who ultimately signed off on this?’
Ry Moran

The initial agreement included a ruling that would have seen 48 Catholic entities pay a total of $79 million. The ruling was broken down into three sections and it seems to come down to some intricate terminology.

Essentially the phrasing created an opt out. It suggests that these Catholic entities make “best efforts” to raise $25 Million for residential school survivors. Ultimately Justice Neil Gabrielson ruled that the church covered all of their financial obligations and allowed them to walk away from the hollow promise of “trying their best” to raise funds for residential schools.

It seems in the world of Catholicism ‘best efforts’ lies somewhere in the area of 16.5%.

It was Stephen Harper’s Minister of Aboriginal Affairs, Bernard Harcourt that signed off on the agreement that freed the Catholic collective of their moral and financial obligations. This occurred during the 2015 federal election campaign.

Canada does hereby remise, release and forever discharge the Catholic entities, its directors, officers, shareholders, agents, lawyers, and employees, of and from all manners of actions, causes of action, suits, debts, dues, accounts, bonds whatsoever against the releasees.”
Government Document that absolved the Catholic Church of their responsibility

It went on to say…

Canada further covenants and agrees not directly or indirectly to join, assist, aid, or act in concert in any manner whatsoever with any person or entity in making any financial claim or demand whatsoever against the releasees.”
Government Document that absolved the Catholic Church of their responsibility

In the fall of 2021 Liberal Crown-Indigenous Relations Minister Marc Miller vowed to look deeper into the decision and find out how it came to pass. Many of the passages were redacted either in full or in part.

Ultimately, it is felt that the language that definitely originated with the Harper government is pretty much binding, so the Government of Canada will struggle to ever go back and seek any additional form of retribution. In other words, Stephen Harper’s legacy of hate in relation to Indigenous relations has yet another horrific chapter.

Keep in mind, all of this occurred before the unmarked graves of thousands of residential school children were discovered throughout western Canada in 2021.

It seems Harcourt and Harper literally signed a deal with the devil, but given Stephen Harper’s abject failure in every element of Indigenous relations this is no surprise. Somewhere this soulless cretin is likely summoning the ghost of Sir John A MacDonald in order to give him a high five.

Just one more reason why I will NEVER vote CONservative again.

Here is a CBC article that relates more detail related to this story.

https://www.cbc.ca/news/politics/canada-deal-catholic-church-fundraising-1.6557533

It’s a shame that as a country we can’t seize the Catholic Church’s assets one church at a time.

House the homeless. Feed the poor.

Solve the world’s problems. Tax churches everywhere.

The purpose of tying these atrocities into this feature on ‘Take Me to Church’ serves as another way to demonstrate that left to its own devices, religion is a divisive force and worse, it exists as a catalyst for evil and some of the worst of all atrocities. So much of the evil in today’s world can be traced to false idols presented from the pulpit in the name of (name your own) God.

Whether it be related to the repression or persecution of people based on their sexual orientation in Putin’s Russia or far-right RepubliCON areas of the United States, or examples of cultural genocide that have plagued humanity for centuries. Wherever the misallocation of religious doctrine and the manipulation of the masses by often corrupt leaders occurs, catastrophic results often follow.

So today, as we celebrate St. Patrick’s Day and attribute so much to the Christian missionary who is thought to have brought Christianity to Ireland a few things should be known about the pagan roots that are actually the foundation for the occasion.

St. Patrick’s Day is thought to be the adaptation of the pagan celebration of the Spring equinox. The festival was known as Ostara. One of the most important figures in paganism is Eostre, the goddess of spring and fertility. Note the similarity to Christianity and its celebration of Easter.

In the 5^th century St. Patrick is thought to have converted the Irish people to Christianity using the shamrock which is a three-sided clover. The symbolism here is strong because of the connection to the Holy Trinity and its perceived protective powers, or good fortune. The colour green is also very strong in St. Patrick’s Day and it too has strong connections to pagan roots. Green represents Spring and rebirth. By extension; fertility.

To this day, people in Ireland still light fires on St. Patrick’s Day in order to welcome spring and ward off evil spirits. Bonfires would be accompanied by singing and dancing which was also thought to protect those who shared in the festivities.

All of this being said, it is most curious to note that St. Patrick’s Day is often celebrated more in North America than in Ireland itself.

It’s all just a way of taking you to church, and demonstrating that so much of what we know has a much deeper meaning, and so much of what we think we know has connections that can be traced back centuries to people who were more or less phased out because their thinking didn’t quite fit in with the incoming regime.

Once again, the madness and soil of that sad earthy scene rears its ugly head.

Take Me to Church?

No thanks!

There are better ways to learn, and history is best understood without the whitewashed obstruction of dubious religious entities.

Fairytale of New York – I can see a better time when all our dreams come true. #MusicisLife #TedTocksCovers

December 18, 2023December 18, 2023 ~ tedlindsay0170 ~ 1 Comment

When music fans talk about the great duets recorded through the years things get a little nostalgic. More often than not the conversation heads to the mainstream, or more aptly stated the middle of the road. That’s fine. Things tend to be safer there. Here, I am reminded of a quote from Neil Young commenting on how his commercial success was enjoyable financially, but the predictability bored him.

Heart of Gold’ put me in the middle of the road. Traveling there soon became a bore so I headed for the ditch.”
Neil Young

Today’s post will drag us through the ditch. Then we will stagger through the back alleys of New York City before spending the night in a Gotham drunk tank surrounded by a handful of people who will make us reflect on every mistake.

This is definitely a religious experience that exists on an earthly level. In the end, the bells will ring out, but somehow beyond Christmas day the future becomes uncertain.

We can always hope for this character at least, the powerful symbolism of the bells is one that foretells optimism.

‘Fairytale of New York’ was written by Jem Finer and Shane McGowan over a period of two years from 1985 to 1987 for the iconic London based band, the Pogues. It was written as a duet and when it came time to find the ideal partner for McGowan’s troubled character. Ultimately, they brought in Kirsty MacColl but a lot happened before this chapter unfolded. To put it bluntly, the process from start to completion was arduous. In fact, the original set of lyrics spoke of a sailor who was reflecting on his life at sea.

The common theme from the original version, to what we all know now as ‘Fairytale of New York’ is a deep contemplation of the future.

The connection from its earliest draft to what became the completed song was suggested by Jem Finer’s wife Marcia. She saw the potential for a heated conversation between a couple on Christmas Eve. As fate would have it, Finer was reading a novel called; you guessed it ‘A Fairy Tale of New York’ by J.P. Donleavy at the time. Everyone associated with the Pogues recalls the novel lying around the studio about the time the song was coming together.

The narrative of ‘Fairytale of New York’ follows the sordid affairs of an Irish immigrant in the Big Apple. He ends up in the drunk tank following a Christmas Eve drinking binge. While attempting to sleep off the poisonous effects, an elderly gentleman next to him laments his wasted life and points out that he fully expects this will likely be his last Christmas. He then begins to sing a passage of an old Irish song called ‘The Rare Old Mountain Dew’.

Now learned men as use the pen have writ the praises high
Of the sweet poitin from Ireland green, distilled from wheat and rye
Go away with your pills, it’ll cure all ills, be ye Pagan, Christian or Jew
Take off your coat and grease your throat with a bucketful of Mountain Dew”
Traditional Irish Folk Song

Enticing…But the ‘Fairy Tale of New York’ narrator gets the message and the rest of the song focuses on his own regrets.

He dreams of the love of his life with whom he shares, shall we say, a turbulent relationship.

He is cognizant enough of his wasted life that he manages to formulate this nasty exchange between he and his estranged partner.

The way it is introduced could be the opening scene of an epic film.

It was Christmas Eve, babe
In the drunk tank
An old man said to me
“Won’t see another one”
And then he sang a song
The Rare Old Mountain Dew
I turned my face away
And dreamed about you

Got on a lucky one
Came in eighteen to one
I’ve got a feeling
This year’s for me and you
So, Happy Christmas
I love you, baby
I can see a better time
When all our dreams come true

They’ve got cars big as bars, they’ve got rivers of gold
But the wind goes right through you, it’s no place for the old
When you first took my hand on a cold Christmas Eve
You promised me Broadway was waiting for me

You were handsome
You were pretty, Queen of New York City
When the band finished playing
They howled out for more
Sinatra was swinging
All the drunks, they were singing
We kissed on a corner
Then danced through the night

The boys of the NYPD choir
Were singing “Galway Bay”
And the bells were ringing out
For Christmas day

You’re a bum, you’re a punk
You’re an old slut on junk
Lying there almost dead
On a drip in that bed
You scumbag, you maggot
You cheap, lousy faggot
Happy Christmas, your arse
I pray God it’s our last

The boys of the NYPD choir
Still singing “Galway Bay”
And the bells are ringing out
For Christmas day

“I could have been someone”
Well, so could anyone
You took my dreams from me
When I first found you
I kept them with me, babe
I put them with my own
Can’t make it all alone
I’ve built my dreams around you

The boys of the NYPD choir
Still singing “Galway Bay”
And the bells are ringing out
For Christmas day”
Jem Finer and Shane MacGowan

It should be told that Jem Finer and Shane McGowan’s accounts related to the origin of ‘Fairytale of New York’ differ slightly, but the detail that Finer offers speaks to an interesting chronology.

Anecdotes such as the following reflection from Finer speak to the idea of the struggle he was having with pulling it all together.

I had written two songs complete with tunes, one had a good tune and crap lyrics, the other had the idea for ‘Fairytale’ but the tune was poxy, I gave them both to Shane and he gave it a Broadway melody, and there it was.”
Jem Finer

In the earliest incarnation of ‘Fairytale of New York’, Elvis Costello was working as producer. Shane MacGowan is on record as saying that it was Costello that offered a wager that claimed that Finer and MacGowan could never write a hit Christmas song.

When Finer shared the early draft that depicted a bickering couple, MacGowan was captured by the concept. In a twist of fate that speaks to the best presentations being timely, it was right around the end of the year so Christmas was fresh in MacGowan’s mind as he immersed himself in Finer’s lyrics.

I sat down, opened the sherry, got the peanuts out and pretended it was Christmas. It’s even called “A Fairy Tale of New York”, it’s quite sloppy, more like ‘A Pair of Brown Eyes’ than ‘Sally MacLennane’, but there’s also a ceildh bit in the middle which you can definitely dance to. Like a country and Irish ballad, but one you can do a brisk waltz to, especially when you’ve got about three of these [drinks] inside you… But the song itself is quite depressing in the end, it’s about these old Irish-American Broadway stars who are sitting round at Christmas talking about whether things are going okay.”
Shane MacGowan

By January of 1986, the Pogues were ready to record and they brought in Cait O’Riordan to act as Shane MacGowan’s partner. Interestingly, O’Riordan was known to be Elvis Costello’s romantic partner at about this time, and for several years following, but the relationship was severed in 2002 due to O’Riordan’s struggles with a series of mental health issues that were only exacerbated by her alcoholism. It should be noted here that she has been sober since 2007.

Speaking to this chapter of the song’s development, I was pleased to find this early demo of ‘Fairytale of New York’. Under Costello’s tutelage, at the time the Pogues were calling the song ‘Christmas Eve in the Drunk Tank’.

Something about the perceived negativity of the title didn’t sit well with Shane MacGowan. Never too concerned with the commercial success of his work, he knew that a song with that title would not draw the listener’s interest. It lacked any sense of intrigue. Despite the obvious power of the performance the song was shelved for a period; partially due to the internal debate and also because MacGowan became bed-ridden with double pneumonia.

From here, a combination of things happened. Caught up between his relationship with O’Riordan and a deteriorating dynamic with the Pogues, Elvis Costello stepped away from his producer role, giving way to the accomplished Steve Lillywhite. With Costello gone, so too was the female accompaniment to MacGowan. This combined with Steve Lillywhite’s coming in and declaring the Pogues/O’Riordan collaboration as ‘not fully realized’ added to the uncertainty that the song would ever be released.

There really is something to be said about the drive to perfection and the heights a song can achieve when it is introduced to a new set of ears.

All of these hurdles only added to the Pogues determination to make Fairytale of New York’ happen.

Perhaps the most important detail that led to ‘Fairytale of New York’ actually being recorded at all was the impending Pogues U.S. tour. This would be the Pogues first in the United States, and fortuitously it included a date in New York City, a locale that had long since fascinated both MacGowan and Finer.

Imagine a 1000-piece jigsaw puzzle spread out before you in pieces, and then close your eyes. Now what if after opening your eyes up again consider that one fateful evening could allow all the pieces to magically come together and serve to relay the story you have been trying to tell for so long. This is pretty much what happened.

The visit to New York City helped the songwriters modify the initial scene they were describing. They realized as much as they wanted to offer the story from the perspective of their native Ireland, they had not really captured the nuance of the city that never sleeps. Being there, changed everything. Backstage following their New York show the Pogues were visited by filmmaker Peter Dougherty and acclaimed actor Matt Damon. Both would play integral roles in the subsequent video of ‘Fairytale of New York’. Inspired by the Sergio Leone film ‘Once Upon a Time in America’, Shane MacGowan wrote the piano introduction to ‘Fairytale in New York’.

As a result of this injection of life ‘Fairytale of New York’ was back on track. With Steve Lillywhite at the helm the Pogues entered Abbey Road Studios in March of 1987 with a plan to have Shane MacGowan sing both the male and female parts.

Listen and you can clearly see that Shane is begging for a muse.

Someone suggested that the vocal track might be perfect for someone close to Steve Lillywhite…His wife, Kirsty MacColl. Lillywhite was on board with this suggestion. He took the music and MacGowan’s best demo home with him and asked Kirsty to lay down a new guide vocal for ‘Fairytale in New York’. When he returned to the studio, the Pogues were blown away.

It all sounds so easy now, but this took about two years to come to fruition.

Kirsty knew exactly the right measure of viciousness and femininity and romance to put into it and she had a very strong character and it came across in a big way… In operas, if you have a double aria, it’s what the woman does that really matters. The man lies, the woman tells the truth.”
Shane MacGowan

Another in a long line of fascinating facts related to this timeless song is that MacGowan and MacColl did not sing it together in the studio. The more one sits and listens to this recording, the more startling this remains. You would swear they were side by side as they carried out this dialogue in song.

Kirsty MacColl died on this day in 2000 when she was struck by a speedboat in Mexico while attempting to save her sons from the oncoming craft.

Here are the Pogues together with Kirsty MacColl on Top of the Pops in 1987.

It’s like a one act play that leaves the viewer hanging.

So, what did ‘Fairytale of New York’ mean to Shane MacGowan? Here is his summation.

It was a happy time for the group. It’s our ‘Bohemian Rhapsody’. I was very grateful to Kirsty. I don’t think it would have been such a big hit without her contribution.”
Shane MacGowan

An apt comparison, I say.

Among the seemingly endless passages that heap praise upon this brilliant piece of music, this review by Helen Brown of The Daily Telegraph. She captures the mood; the spirit and the sociological implications of this timeless song.

In careening wildly through a gamut of moods from maudlin to euphoric, sentimental to profane, mud-slinging to sincerely devoted in the space of four glorious minutes – it’s seemed perfectly suited to Christmas – a time which highlights the disparity between the haves and have nots around the world. Those of us lucky enough to spend the day with friends and families by a cosy fire with a full stomach think of the lonely, the homeless and the hungry. As MacColl and MacGowan’s dialogue descends from the ecstasy of their first kiss into an increasingly vitriolic argument their words puts the average family’s seasonal bickering into perspective. “You’re a bum you’re a punk/ You’re an old slut on junk…” The song’s row ends with an expression of love and hope (against all the odds) as MacGowan’s character promises MacColl’s that, far from wrecking her dreams he has kept them with his own “Can’t make it all alone,” he pleads, “I’ve built my dreams around you.”
Helen Brown

I say again; if ever there was a song that could form the basis of a feature film.

Perhaps there is some irony to the fact that Shane MacGowan was born on Christmas Day? The driving force behind the presentation of ‘Fairytale of New York’ could feel the significance of the message within the song and the perceived hopelessness of the character’s plight. There are dreams and promises; a clear desire to be better. He has built his dream around one person, but he can’t get past his own fatal flaw. Through the honesty and vulnerability presented in this song, a global popularity developed.

It’s entirely appropriate that Shane Patrick Lysaght MacGowan was born on Christmas Day because his celebrated song Fairytale Of New York seems to be just about everybody’s favourite festive piece of music. The 1987 song by the Pogues – once censored by the BBC for its raw language – was announced as the most-played Christmas song of the century by music licensing body PPL.”
Martin Chilton

An eternal truth exists. Everybody loves an underdog. Shane was the voice.

Rivers of tears were shed when it was announced that Shane MacGowan died on November 30 of pneumonia. This was the culmination of several years of poor health and efforts to overcome his demons. His devoted wife Victoria was by his side.

He was just so full of love and I’m feeling so much love now from him that I don’t think he can go away. I don’t think that love can go away.”
Victoria Mary Clarke

If a tribute show is ever put together to honour the memory and contribution of Shane MacGowan I would submit Christy Moore as the perfect performer to lead off the festivities. For today. I will have to humbly submit one of his cover versions to open up a nice list of quality tributes to this song that stirs the soul no matter who is playing. This is live from 1991.

Listen as he concludes the story with;

Hey Shane! I love you too baby.”
Christy Moore

Moving forward to 2000, enjoy this dramatic offering from Ronan Keating and Moya Brennan. This is simply beautiful.

A couple of years later in 2002, and long after he was asked to leave the Pogues for his drinking issues and troubling behavior, Shane MacGowan’s continued to play with his band known as the Popes. This live performance is essential because it includes his mother, Therese. They are introduced by host Pat Kenny. What strikes me about this performance is Therese is dealing with a little bit of stage fright but Shane brings her through. The song ends with the pair dancing together. That piano introduction gets me every time.

In an effort to mix up the styles as well as sharing an interesting cast of characters who have dabbled in this masterpiece, I offer Alan Doyle of Great Big Sea along with Russell Crowe and Hugh Jackman. This is from the NYC Indoor Garden Party back in 2012.

I could have been someone, but so could anyone.”
Jem Finer and Shane MacGowan

Continuing with big names who honour the tradition, here is Florence and the Machine with Billy Bragg. I love the approach Florence and the Machine brings to everything they do, but when you combine their style to the masterful delivery of Billy Bragg, magic ensues. Listen to that harp. This is a little subdued, but it still commands your attention.

In 2017, Ed Sheeran and Anne-Marie combined to present this passionate effort. Ed is good but truth be told, this covers kicks it up a notch when Anne-Marie joins in. I love this version. Top marks for the traditional Irish band that offers their talents. They all come together to combine ‘Fairytale of New York’ with a ‘Jingle Bells’ outro.

There is a level of camaraderie in this rendition of ‘Fairytale of New York’ in an episode of ‘Live from Here’. Here is Jeff Tweedy along with a host of friends closing their set in December of 2017, much to the fans’ delight. Tweedy is joined by Chris Thile, The Staves, Sarah Jarosz, Punch Brothers, Rich Dwarsky and Ted Poor.

Are there any Jon Bon Jovi fans out there? This is a quality cover from 2020. This is from ‘A Jon Bon Jovi Christmas’. It seems Jon is tapping into his never-ending mission to alleviate homelessness and mental health issues. I admire his philanthropic efforts and his genuine desire to make the world a better place. While critics piled on, I submit this as one of the best things he has ever done.

Closer to Christmas in 2020 when people were coping with challenges related to the Covid 19 pandemic Puddles Pity Party created this beautiful cover of ‘Fairytale of New York’ with the incredibly talented and captivating Storm Large. Here is the stunning result.

Let’s share a cup of coffee with Vance Joy and listen to him play ‘Fairytale of New York’ on the ukulele. I love this version.

To conclude the covers portion of today’s feature, let’s say that when I saw that Jason and Travis Kelce were involved in a modified version of ‘Fairytale of New York’ called ‘Fairytale of Philadelphia’ I was somewhat dubious, but I took the time to listen and I was pleasantly surprised. The Kelce Brothers take it to Broad Street. It works…Listen…Taylor Swift would be proud.

This was released in mid-November of 2023. Just two weeks before the sad news of Shane MacGowan’s death hit the news cycle. Ideally, this cover version will expose many new fans to the work of the Pogues.

Before we move on and enjoy our day, let’s go to an Irish Wake. This tribute was offered at Shane MacGowan’s funeral last week. What a moment. This eulogy of sorts featured Glen Hansard and Lisa O’Neill on vocals. Ireland’s President Michal D. Higgins was just a few feet away. If we could all be sent off in such a spirited way.

Within a week of Shane MacGowan’s death ‘Fairytale of New York’ made its way to #1 in Ireland. With this success the Pogues re-issued the song as a 7-inch single and announced that proceeds from sales would go to Dublin Simon Community which is and organization devoted to fighting homelessness. This was a mission close to Shane MacGowan’s heart.

‘Fairytale of New York’ became a Christmas song despite the fact that to many, it presents as everything that could be construed as anti-Christmas. Somehow in an effort to write a song about lost hope; through a troubling narrative the underlying message has resonated for over three decades.

Any semblance of optimism shines through in the chorus as the boys of the NYPD choir are singing ‘Galway Bay’. Listen as Dolores Keane takes us out.

As long as the music is playing there is hope.

Here, the voices are singing and the bells are ringing, and a world moves on holding on to every reason to believe.

Cheers Shane!

Side One of ‘Goodbye Yellow Brick Road’ – Solid walls of sound. #MusicisLife #TedTocksCovers

October 5, 2023October 4, 2023 ~ tedlindsay0170 ~ 9 Comments

In today’s feature we will take a walk down the yellow brick road that represents a quarter of this classic Elton John album. This will include ‘Funeral for a Friend’, ‘Love Lies Bleeding’, Candle in the Wind’ and ‘Bennie and the Jets’.

Elton John released ‘Goodbye Yellow Brick Road’ 50 years ago today.

This album has sold over 20 million copies. It was inducted into the Grammy Hall of Fame in 2003.

Just one more cool recognition is its inclusion in the book ‘1001 Albums You Must Hear Before You Die’.

The accolades should keep on going for another half century, in this writer’s opinion.

It is regarded by music fans worldwide as his opus. The listening experience remains almost indescribable. From the opening notes of ‘Funeral for a Friend’ it is spellbinding. Simply stunning. An epic piece of music. I type away and as I listen, I marvel at the brilliance.

It made me think this is the way people must have felt centuries ago when Beethoven, Bach and Mozart were creating their musical masterpieces.

To think, it all began with the intention of being a single LP. Once Elton John and company arrived at the famed Chateau d’Herouvillle in France they were so inspired by the setting they kept on writing and recording. This is how ‘Goodbye Yellow Brick Road’ developed into an acclaimed double album.

Interestingly, the working title was ‘Vodka and Tonics, and Silent Movies, Talking Pictures’. The creative process flowed from themes that portrayed cinematic metaphors. As a pair, Elton John and Bernie Taupin, have an uncanny knack for operating on the same wavelength. Throughout this album they created a number of tracks inspired by the nostalgia the silver screen and its many characters introduced.

As the album unfolds and ‘Funeral for a Friend’ flows into ‘Love Lies Bleeding’ the John/Taupin magic seeps into the grooves.

Speaking of Bernie Taupin’s lyrics, this is a very dark take on a breakup song. Death imagery abounds. In matters of the heart this type of direct prose peels the layers off the hurt. It cuts to the core.

How many jilted lovers and hopeless romantics have used this piece of music and prose as part of their own therapy over the years?

The roses in the window box have tilted to one side
Everything about this house was born to grow and die
Oh, it doesn’t seem a year ago to this very day
You said, “I’m sorry, honey, if I don’t change the pace
I can’t face another day”

And love lies bleedin’ in my hands
Oh, it kills me to think of you with another man
I was playin’ rock and roll, and you were just a fan
But my guitar couldn’t hold you, so I split the band
Love lies bleedin’ in my hands

I wonder if those changes have left a scar on you
Like all the burnin’ hoops of fire that you and I passed through
You’re a bluebird on a telegraph line, I hope you’re happy now
Well, if the wind of change comes down your way, girl
You’ll make it back somehow

And love lies bleedin’ in my hands
Oh, it kills me to think of you with another man
I was playin’ rock and roll, and you were just a fan
But my guitar couldn’t hold you, so I split the band
Love lies bleedin’ in my hands

And love lies bleedin’ in my hands
Oh, it kills me to think of you with another man
I was playin’ rock and roll, and you were just a fan
But my guitar couldn’t hold you, so I split the band
Love lies bleedin’ in my hands”
Bernie Taupin

While ‘Funeral for a Friend’s was an instrumental piece that gives the audience a glimpse into the mind of Elton John, momentarily at least, this creation represents the kind of music Elton would have wanted at his funeral. As an overture ‘Funeral for a Friend’ sets a musical standard drawing from ‘The Ballad of Danny Bailey (1909 – 1934)’, ‘I’ve Seen that Movie Too’ and ‘Candle in the Wind’.

I came across this ‘AllMusic’ review from Donald Guarisco while researching today’s post. This is what I was trying to say in my introduction.

Funeral for a Friend’ (is a) a stunning instrumental with a powerful fusion of classical and rock elements where a gentle, lyrical motif is developed and energized until it builds into a powerhouse full of emotion and bombast.”
Donald Guarisco

True to the era, ‘Funeral for a Friend/Love Lies Bleeding’ was considered to be too long to be released as a single, but the sheer power behind its presentation led to it becoming an FM DJ favourite. Not only is it a fantastic recording, but by clocking in at over 11 minutes, it allowed the DJ a lot of time to get some things done (use your imagination).

Set ten minutes aside and enjoy this incredible live version from ‘One Night Only’ at Madison Square Garden in New York City. This goes back to 2000. Every bit of the song’s orchestration works in the live setting. Absolutely magical.

Before, moving on to a cover of ‘Funeral for a Friend/Love Lies Bleeding’ take a moment and reflect on the fact that Axl Rose cites this piece of music as one of the primary motivations to write the magnificent Guns ‘n’ Roses song ‘November Rain’.

Now, enjoy Dream Theater and their cover of ‘Funeral for a Friend/Love Lies Bleeding’ from their 1995 album ‘A Change of Seasons’. Some Elton John purists don’t like this, but count me in on this strong interpretation.

Following this dynamic introduction is Elton John’s powerful salute to Marilyn Monroe, ‘Candle in the Wind’.

I consistently marvel at the dynamic between Elton John and his lyricist Bernie Taupin. For years Elton John has delivered this heartfelt tribute to Marilyn Monroe. The sympathetic tale conveys the feelings of an adolescent who recognizes the anguish the model/actress was enduring while being manipulated by her handlers and even spouses.

Goodbye, Norma Jeane
Though I never knew you at all
You had the grace to hold yourself
While those around you crawled
They crawled out of the woodwork
And they whispered into your brain
They set you on the treadmill
And they made you change your name”
Bernie Taupin

One would leap to the conclusion that Bernie Taupin and Elton John found some sort of bond in their adoration of Marilyn, but the short answer to that assumption is not really. Bernie Taupin put this idea to rest during an interview with Rolling Stone magazine.

She is absolutely not someone I admired a lot as a kid or anything. She was just a metaphor for fame and dying young, and people sort of overdoing the indulgence, and those that do die young…I think it’s one of the best marriages of lyric and melody that Elton and I have ever put together. But it doesn’t change the fact that I wasn’t particularly enamored by Marilyn Monroe.”
Bernie Taupin

The idea for the song title and theme actually came to Taupin after hearing legendary producer and record company executive, Clive Davis describe the late Janis Joplin as ‘a candle in the wind’ during a tribute. This description grabbed the songwriter.

I just kept hearing this term [and] I thought, what a great way of describing someone’s life”
Bernie Taupin

It stayed with him until these words poured out onto the page.

And it seems to me you lived your life
Like a candle in the wind
Never knowing who to cling to
When the rain set in
And I would’ve liked to know you
But I was just a kid
Your candle burned out long before
Your legend ever did”
Bernie Taupin

And now, how many lives have been described in this way. Especially a life that has seen someone die tragically in what is considered to be their prime.

The idea of fame or youth or somebody being cut short in the prime of their life. The song could have been about James Dean, it could have been about Montgomery Clift, it could have been about Jim Morrison … how we glamorise death, how we immortalise people.”
Bernie Taupin

Adding to the premise that the metaphor has a vast application, Taupin emphasized;

It’s not that I didn’t have respect for her. It’s just that the song could just as easily have been about James Dean or Jim Morrison, Kurt Cobain, Sylvia Plath, Virginia Woolf. I mean, basically, anybody, any writer, actor, actress, or musician who died young and sort of became this iconic picture of Dorian Gray, that thing where they simply stopped aging. It’s a beauty frozen in time.”
Bernie Taupin

I love that line…“A Beauty frozen in time.”

As a result, ‘Candle in the Wind’ continues to stand as a timeless expression and thanks to Bernie Taupin and Elton John the flickering light has touched many a tribute. Many people are remembered fondly through this beautiful song.

Speaking of this homage, another name that could be included in the long line of artists who have died way too young is Sandy Denny. Here is Denny covering ‘Candle in the Wind’ in 1977.

In 2018, Ed Sheeran recorded ‘Candle in the Wind’ on the album known as ‘Revamp’. Here is the recording for your enjoyment.

‘Revamp’ was seen as Elton John’s project and it featured covers of several hit songs from the Elton John catalogue by many big-name pop, rock and R&B artists. While Elton John worked on ‘Revamp’, Bernie Taupin produced an album called ‘Restoration’ which focused on country artists and their interpretation of songs from the Elton John library.

Fittingly, I will share Elton John’s heartfelt tribute to Lady Diana. Yet another example of everything the song was intended to describe.

Apparently, it took some convincing to get the Royal Family to allow Elton John to perform this song at Lady Diana’s funeral. Eventually, they warmed to the idea as a result of the dean of Westminster Abbey, Very Rev. Dr. Wesley Carr who pleaded with them to understand that this tribute would be an;

…imaginative and generous’ gesture to the public who had turned against the Royal Family after the princess’s death.”
Very Rev. Dr. Wesley Carr

Ten years later Prince Charles asked Elton John to perform ‘Candle in the Wind’ during his set at the 2007 ‘Concert for Diana’ at Wembley Stadium, but Elton declined. He felt it would have been ‘macabre’. Instead, he opted to perform ‘Your Song’.

The soap opera continues…

The closing track on side one of ‘Goodbye Yellow Brick Road’ is the ever popular ‘Bennie and the Jets’.

For my money ‘Bennie and the Jets’ sets at third in my rating of the four songs on ‘Goodbye Yellow Brick Road’ but I understand the commercial appeal. It is easily the most popular. Through the years, in a live setting it is one of Elton John’s most played songs.

More importantly, it is perhaps the context of ‘Bennie and the Jets’ that has helped it rise in the esteem of this writer. ‘Bennie’ is a glam rock concept conjured up by Elton John to portray a sci-fi rock-goddess. There are similarities to what David Bowie was portraying in ‘Ziggy Stardust’ and ‘Five Years’. In essence, Elton John was creating the female extension of himself. Music is about expression and in this case ‘Bennie and the Jets’ was an outer-worldly female rock and roll band, but with the sci-fi connection, they presented as automatons.

Bernie Taupin is rather humble about his role in ‘Bennie and the Jets’. He attributes the song’s success to two elements of Elton John’s delivery. The first is the classic stutter of B-B-B-Bennie, which he feels lends itself well to the idea of a robotic delivery. The second is the dynamic chord introduction which jolts the audience to attention.

Something big is going to happen.

Taupin’s summary passes all the credit to Elton John.

That’s a little quirk of the song which I’m sad to say I had nothing to do with. That and that wonderful big chord at the beginning. I think those two things are what probably made that song so popular. Neither of which I had anything to do with.”
Bernie Taupin

All humility aside, when you match these lyrics with the concept the pair conjured up, it is clear that as always the Elton John/Bernie Taupin partnership is a thing of beauty.

Hey, kids, shake it loose together
The spotlight’s hitting something
That’s been known to change the weather
We’ll kill the fatted calf tonight
So stick around
You’re gonna hear electric music
Solid walls of sound

Say, Candy and Ronnie. Have you seen them yet?
Ooh, but they’re so spaced out
B-B-B-Bennie and the Jets
Oh, but they’re weird and they’re wonderful
Oh, Bennie. She’s really keen
She’s got electric boots, a mohair suit
You know I read it in a magazine, oh
B-B-B-Bennie and the Jets”
Bernie Taupin

They knew their audience, and it was growing.

A few other cool anecdotes related to ‘Bennie and the Jets’ include the live audience recording at the beginning. If you were in the audience for the Elton John show at Royal Festival Hall in Vancouver, British Columbia in 1972, that whistling could be you.

Through the years, Elton John was very adept at honouring the American artists who helped him develop his on-stage persona and his recording sound. The falsetto in ‘Bennie and the Jets’ is a direct homage to Frankie Valli and The Four Seasons.

The final intriguing note related to ‘Bennie and the Jets’ is the fact that Bennie is interchangeable with Benny depending on where you live in the world and what recording you purchased. In North America it was ‘Bennie’ on the single which was offered as the A-side. ‘Candle in the Wind’ was the B-side. The ‘Goodbye Yellow Brick Road’ album presents ‘Bennie’ in North America as well, while pretty much the rest of the world lists the track as ‘Benny’. When Elton John released the song as a single in the U.S. he had no illusions that it would become a popular song. When it hit #1 he was shocked. For his part, Elton John has openly admitted that he was never very good about assessing which material, he along with his band, and Bernie Taupin released, would rise to the top of the charts.

Suffice to say, it doesn’t really matter because on so many occasions, it just did.

I will close out this portion of the post with a live version of ‘Bennie and the Jets’ from 1974. I had several versions to choose from, but this one really stood out.

Before we get to a cover, how about an interesting sample? Listen to this soulful re-imagining by Mary J. Blige that takes us ‘Deep Inside’. This is from her 1999 album ‘Mary’. It’s a lament.

I don’t have a lot of friends
And sometimes I have to wonder
Is it cash they see when they look at me
‘Cause they’re lookin’ for a ride that’s free
So I made the choice to be
Good to those who are good to me
Don’t judge me, don’t think I’m bitter
For the evil does allow me to see I’m just Mary”
Mary J. Blige

It features Elton John on piano and both Elton and Bernie receive song writing credits.

Here is Elton John with the Muppets in 1999. This is abbreviated, and mostly a skit, but it is just a bit of fun.

Once again, we will turn to ‘Revamp’. Here is P!NK and Logic with Elton John.

There is something poetic about the cover of ‘Goodbye Yellow Brick Road’ and everything it symbolized. The image of Elton John wearing ruby red platform shoes and a bead-dazzled sequined jacket stepping onto the golden path as he heads off into the sunset is iconic. He is inviting us to join him in a better place. A better future.

The yellow brick road was the right track.

How did we get so far off course?

Merry Christmas/Last Christmas – Spare a thought for the ones who have gone. #MusicisLife #TedTocksCovers #EdSheeran #EltonJohn #TheSnowman #ShakinStevens #East17 #Wham #GeorgeMichael #TaylorSwift #ArianaGrande #CarlyRaeJepsen

December 11, 2021December 9, 2021 ~ tedlindsay0170 ~ 1 Comment

Today’s post has the distinction of being the newest song I have ever featured. Exactly eight days after it was unveiled.

It all began with a phone call and a promise.

In late 2020 Ed Sheeran received a phone call from his friend Elton John. While the two discussed the challenges they were facing during the COVID-19 pandemic they noted that the world could use a little cheering up. Evidently, Elton John suggested that the pair get together and write something for Christmas ’21 and Sheeran responded with a guarantee that he could fit it into his schedule in 2022.

Unbeknownst to Sir Elton, in a mischievous twist the 30-year-old recording star set to work immediately. Here is Ed Sheeran’s brief account.

Last Christmas I received a call from my mate Elton John, and he told me we should do a ‘Christmas Song.’ And I replied, ‘Yeah maybe in 2022.’ But I actually wrote the chorus that day.”
Ed Sheeran

The chorus that Ed Sheeran wrote that day became the foundation to ‘Merry Christmas’, which was released late last week to a receptive world audience. The iconic pair were hesitant to call the song ‘Merry Christmas’ because they thought the title had been used, which could potentially create some confusion. A search on Spotify by Sheeran revealed that while many songs used the words ‘Merry Christmas’ in the title, none were simply called ‘Merry Christmas’.

The floodgates to creativity were open. Here is the chorus that Sheeran created that day, and the rest of the song flowed from here.

I feel it when it comes
Every year, helping us carry on
Filled up with so much love
All the family and friends are together
Where we all belong
Merry Christmas, everyone”
Ed Sheeran

There is no doubt that ‘Merry Christmas’ was written as a ‘band aid’ for what is hoped to be the post-COVID-19 world. While we are still faced with challenges, it is very evident that music therapy is hard at work here and the legendary Elton John and his prolific and universally popular partner, Ed Sheeran play the role of doctor. There is no question that this collaboration is from the heart. You can sense the joy as you watch and listen. Speaking to this observation, there truly is a lot at work in the video presentation. Let’s have a look at some of the interesting tributes built into the four-minute offering, directed by Jason Koenig.

It all began with a couple of teaser clips, the most telling of which showed Sheeran re-enacting the famous scene in ‘Love Actually’ where Andrew Lincoln expresses his feelings for Keira Knightley with a series of cue card messages. In Ed’s case the words announce to the world how ‘Merry Christmas’ developed as a song. Here is the teaser.

For good measure, here is the clip from ‘Love Actually’. A hallmark moment for sure.

Much to the credit of Jason Koenig’s vision, there are several elements of the video that allow viewers to reflect on iconic scenes from British Christmas hits of the past. This is where the song takes on an even deeper meaning.

To begin, you see Ed Sheeran recreating a scene from ‘The Snowman’ which involves the song ‘Walking in the Air’. The famous scene portrays the main character; a young boy flying to the North Pole with his snowman friend. This is well done and clearly a scene viewers would recognize.

The next homage is given to Welsh singer/songwriter Shakin Stevens who wrote and released ‘Merry Christmas Everyone’ back in 1984/85. (See ‘Fire’, ‘It’s Late’ and ‘Do You Really Want to Hurt Me’). ‘Merry Christmas Everyone’ was the #1 Christmas song in the U.K. in 1985.

Perhaps the most powerful treasure within this heartfelt tribute is the 1994 East 17 song ‘Stay Another Day’. If the sentiment has not struck yet; please understand that this ties the symbolic song together. ‘Stay Another Day’ was written by East 17’s Tony Mortimer in memory of his brother who had taken his own life.

It was based on my brother’s suicide and losing someone. What would you do if you had one more day with a loved one?… It was all based on conversations I’d had with my brother, and I was trying to change it into a love song about the end of a relationship.”
Tony Mortimer

In present day, it is not difficult to recognize the connection between the emotion of this song and the plight of millions of families who would give anything to spend another day with someone close to them. Someone who they love dearly and has since passed.

Without a doubt the most famous reference within the ‘Merry Christmas’ video is the allusion to ‘Last Christmas’ by Wham. To be honest, this is where the cover versions for today’s feature enter the picture. First here is the video for the 1984 contemporary Christmas classic written and produced by George Michael.

To add to the connection between ‘Merry Christmas’ and ‘Last Christmas’, it is interesting to note the two songs were released on the same date 37 years apart. Upon its release in 1984 ‘Last Christmas’ spent five weeks at #2. It was prevented from hitting the pinnacle by another Christmas ditty we all know as ‘Do They Know It’s Christmas’. Let it be known that in addition to being a renowned holiday jingle, ‘Last Christmas’ is also one resilient piece. Through the years at around this time it has always made a chart appearance. On at least three other occasions it made it to #2. Ironically last holiday season it went to #1, 36 years after it first made an appearance. It’s almost like it was time for ‘Merry Christmas’ to take the stage with ‘Last Christmas’ introducing it saying, “my work is done here.”

This series of chart related anecdotes ends with me passing on another trivia tidbit. Until last year’s ultimate success ‘Last Christmas’ held the distinction of being the highest selling single never to have hit #1. It may give you some ‘satisfaction’ to know that this intriguing record is now held by Maroon 5 and their hit “Moves Like Jagger’. Something to share with friends during holiday gatherings.

George Michael wrote the ‘Last Christmas’ while he and Wham partner Andrew Ridgely visited Michael’s parents. Michael disappeared for a short time and returned after having written the melody to the introduction and chorus. Ridgely’s was astounded calling it a “moment of wonder”.

Based on the immense popularity of George Michael and the instant relatability of the theme of unrequited love, there are plenty of cover versions of ‘Last Christmas’. I have selected three covers by three talented female artists.

To begin, somehow it seems appropriate that Taylor Swift would cover ‘Last Christmas’. The lyrical content speaks perfectly to the image she has cultivated through her writing. As always, Swift does a quality job. The video from 2007 presents it like her version of the story.

I love this. Here is Ariana Grande on Michael Buble’s Christmas special in 2014. Grande released the song as part of her ‘Christmas Kisses’ album in late 2013. I opted for the excitement of the live presentation. Grande alters the lyrics slightly, to make it her own, to some degree.

Finally, we offer up a little ‘Can Con’. Here is Carly Rae Jepsen in 2015. Once again, I share a live cover, this time performed on ‘The Late Late Show’ with Jimmy Corden. The groove on this version makes it my favourite.

Now let’s head back to today’s feature song. When Ed Sheeran and Elton John wrote ‘Merry Christmas’ the intention was to fill the world with Christmas spirit. In his own words he wanted to be sure they were all in on the concept.

I said to Elton, I was like, ‘I don’t really want to do a Christmas song unless we’re going in. Unless it’s like sleigh bells, ding-dong. It needs to be a proper Christmas song.”
Ed Sheeran

After writing the chorus, immediately following the phone call, Sheeran spent some time at Elton John’s house. In addition to ‘Merry Christmas’, they wrote two other songs. Each of them followed the same recipe. They needed to be positive. They needed to fill listeners with holiday cheer, and they had to help everyone forget about the ravages of Covid or whatever sadness they were coping with, at least temporarily. For Sheeran, there was a personal element because he had tested positive for Covid-19 in October. He managed to recover and emerged from quarantine in time to perform on Saturday Night Live on November 6, 2021. Less than a week after its release ‘Merry Christmas’ is the #1 trending song in the U.K. and it is challenging Adele’s ‘Easy On Me’ for #1 overall.

The blessings from ‘Merry Christmas’ will continue as the song enjoys a wave of worldwide popularity. Elton John and Ed Sheeran’s publishing royalties from the single and profits from the sales during this holiday season will be donated to a combination of the two prolific artists’ favourite charities. Therefore, equal proceeds will go to the Ed Sheeran Suffolk Music Foundation and the Elton John Aids Foundation. Here is the mission statement of each foundation:

The Ed Sheeran Suffolk Music Foundation is a charitable music foundation which aims to help young people under the age of 18, and living in Suffolk (UK), with small but useful grants to help with studying or playing music. These grants could be used for almost anything, such as buying an instrument, funding your music studies, or paying for rehearsal space. Just let the foundation know what you’d like to do when applying!”
The Ed Sheeran Suffolk Music Foundation Mission

The Elton John AIDS Foundation was established in 1992 and is one of the leading independent AIDS organizations in the world. The Foundation’s mission is simple: to be a powerful force in the end to the AIDS epidemic. We are committed to no more discrimination. No more HIV infections. No more AIDS deaths. No matter who or where you are.
We believe AIDS can be beaten. But only if everyone at risk of HIV, no matter who they are or where they are, has access to the non-discriminatory HIV information and compassionate care that allow them to stay healthy and safe and live with dignity.“
The Elton John Aids Foundation Mission

Two immensely talented artists who have enriched the global community through their gift of music and their philanthropy.

Merry Christmas!

Fill a glass and sing along.

Wish You Were Here – A tip of the hat to the magnanimous generosity of #DavidGilmour. MusicisLife #TedTocksCovers #PinkFloyd #Tchaikovsky #WyclefJean #TheRunningMates #MileyCyrus #EdSheeran #TheMilkCartonKids

June 20, 2020June 18, 2020 ~ tedlindsay0170 ~ 4 Comments

One year ago, today, David Gilmour made headlines around the world for a record-breaking charity guitar auction. The event was coordinated by Christie’s Auction House in New York. At Gilmour’s direction 123 guitars from his personal collection were sold off for a total of just over $21 million. Two thousand bids were offered by hopeful collectors from 66 countries around the world. The proceeds went to a charity known as ‘Client Earth’; an organization made up of lawyers and environmental experts working together to use the law to combat the incremental ravages of environmental change.

The global climate crisis is the greatest challenge that humanity will ever face, and we are within a few years of the effects of global warming becoming irreversible. I hope that the sale of these guitars will help Client Earth in their actions to use the law to bring about real change. We need a civilized world that goes on for all our grandchildren and beyond, in which these guitars can be played, and songs can be sung.”
David Gilmour

For Gilmour, the desire to raise a significant amount of money for an important charitable cause was something he had contemplated for a long time.

I have started the process at least twice before and chickened out. Don’t fret too much. I still have a few lovely guitars that I couldn’t let go… It does not mean retirement.”
David Gilmour

This promise has proven true because I read last week that some new solo work from this extraordinary guitarist is coming soon.

Among the guitars sold at this monumental event was David Gilmour’s famous Fender Stratocaster known as ‘The Black Strat’. This instrument was integral in the recording of four of the greatest albums ever pressed on vinyl; ‘Dark Side of the Moon’, ‘Wish You Were Here’, ‘Animals’ and ‘The Wall’. From 1973 through 1979 ‘The Black Strat’ was a constant companion for Gilmour’s outpouring of musical creativity. (See ‘Brain Damage/Eclipse’, ‘Nobody Home’ and ‘Comfortably Numb’). This guitar alone sold for nearly four million dollars which eclipsed the record previously set by a guitar once owned by the legendary Jerry Garcia, known as ‘The Wolf. (See ‘Deal’)

David Gilmour was recognized by an ecstatic ‘Client Earth’ CEO, James Thornton.

This is a truly humbling and extraordinary gift, which goes beyond our wildest expectations. It’s difficult to express just how deeply grateful we are to David for choosing ClientEarth as the beneficiary of this historic auction.”
James Thornton

To commemorate this remarkable act of generosity and the combination of David Gilmour’s philanthropic reputation and seemingly unending contribution to his art, today’s feature song will be ‘Wish You Were Here’.

Perhaps the most important aspect of ‘Wish You Were Here’ is it represents one of the last times David Gilmour and Roger Waters truly collaborated. True to form, despite the closeness involved in the song’s origin, the pair don’t quite see its inspiration as coming from the same source. Gilmour has suggested that he never plays this song without thinking of Pink Floyd founding member Syd Barrett, while Waters, who wrote the lyrics based on the memorable guitar piece created by Gilmour, considers the lyrics a moment of personal reflection. It clearly has an existential foundation, and in a rare conciliatory moment Roger Waters has agreed that ‘Wish You Were Here’ is ‘open to interpretation’.

The evolution from its original composition to recording, is an intriguing story. We are all familiar with the sound of a radio station playing the album’s previous song ‘Have a Cigar’ and then being tuned away to several other songs. Among the static, and audibly recognizable pieces within this brief medley of sound is Tchaikovsky’s ‘Fourth Symphony’.

This bit was actually recorded from David Gilmour’s car stereo.

Pink Floyd fans point to this recording as yet another example of the band’s musical brilliance. As the tuner selects the station, David Gilmour’s 12 string guitar emerges, finally settling on a clear overdub of an acoustic guitar solo. This gives way to Gilmour’s plaintive vocal delivery and the ultimate full band performance we all know. While the song evolves, the listener is greeted with additional moments of stellar guitar work, and a brief interlude of a scat style vocal before an expressive closing, featuring a final solo and even more studio innovation. This includes another cross fade into ‘Shine on You Crazy Diamond’; a track that is undoubtedly a tribute to Syd Barrett.

Roger Waters and David Gilmour both describe ‘Wish You Were Here’ in minimalistic terms.

Waters praises the song as;

…really good. All bits of it are really, really good. I’m very happy about it.”
Roger Waters

David Gilmour approaches it with a combination of humour and modesty.

Wish You Were Here is a very simple country song…because of its resonance and the emotional weight it carries, it is one of our best songs.”
David Gilmour

Before I move on to today’s cover versions, it is interesting to point out that the original vision of ‘Wish You Were Here’ involved a violin part by Stephane Grappelli. This was intended to compliment the Tchaikovsky connection at the beginning of the recording. Grappelli was a popular jazz violinist who had done some notable work with Yehudi Menuhin. Both violinists were recorded in a session at Abbey Road studios, and when Gilmour invited them to play a ‘country fiddle part’ for ‘Wish You Were Here’ (David Gilmour wasn’t kidding), Grappelli accepted for the modest fee of 300 pounds. This bit is barely audible on the album cut. Roger Waters suggested that it would be an insult to list Grappelli on the liner notes, for what became such a minor contribution, but they did pay the fee. This gave way to the alternate take being included in the re-release of the Pink Floyd catalogue called ‘Why Pink Floyd’. This is beautiful. It may not have fit the vision of the initial album release, but it stands the test of time…45 years later.

Now, in an effort to offer a broad stroke of cover versions, I will begin with this rendition by Wyclef Jean who is a Haitian-American rapper who created this fascinating recording of ‘Wish You Were Here’. It combines the original vision with elements of his genre. The result is both incredible and important.

This was a pleasant surprise. This duo known as The Running Mates came up in my search and grabbed me with an honest version. It has over two million views. Impressive!

From here I will take you to two extremely commercial artists who offer their obvious reverence to Pink Floyd and do a commendable job.

First, Miley Cyrus…Say what you want, but she is extremely talented, and in my mind, she stands on the right side of many social issues. She is an important voice in a tumultuous time. Here, she channels Melissa Etheridge. Enough said.

From here, we move on to Ed Sheeran. Again…really good. The vocals are exceptional.

Now to a lesser known act that should get way more attention. Here are the Milk Carton Kids. This is right up there with the best versions. It is haunting, while displaying the utmost respect to the original composition.

To close this post, I am heading back to the original creator. Here is David Gilmour doing an unplugged version.

As a final note, I wanted to be sure to add that the charitable contribution by David Gilmour mentioned at the beginning of this post, is just one in a long line of selfless acts by this model of philanthropy. The list of donations to charitable causes is long. In 2003 Gilmour sold his house in Little Venice for 3.6 million pounds and donated the proceeds to ‘Crisis’ which is a British charity that funds housing projects for the homeless. This is just the beginning. You can add charities such as Oxfam, the European Union Mental Health and Illness Association, Greenpeace, Amnesty International, the Lung Association, Nordoff-Robbins music therapy and PETA to the long list of organizations who have benefited from his support. As great a guitarist David Gilmour is, simply stated he is an even better person. Seeing him perform at Massey Hall in Toronto in 1984 still stands as my all-time favourite concert memory. The magnitude of this live experience can’t be relayed in words. I can’t believe that was 36 years ago. Time flies.

The time is gone, the song is over,
Thought I’d something more to say
Pink Floyd

Galway Girl – Today’s classic song and a couple of very traditional covers plus another song with the same name. #MusicisLife #TedTocksCovers #StPatricksDay #SteveEarle #SharonShannon #Mundy #EdSheeran

March 17, 2019March 12, 2019 ~ tedlindsay0170 ~ 3 Comments

Happy St. Patrick’s Day! It is hard to believe that it has been 19 years since today’s feature song was released. ‘Galway Girl’ is Steve Earle’s ode to an enchanting Irish lady who captured his heart with her captivating black hair and stunning blue eyes. He relates the story behind an Irish backdrop. This combined with the Celtic instrumentation makes ‘Galway Girl’ my choice for today’s St. Paddy’s Day celebration.

The inspiration for ‘Galway Girl’ was Irish musician Joyce Redmond. The 2000 release came out of a period of prolific songwriting for Steve Earle. He had rediscovered the greatness of the Beatles, Revolver album and the excitement of building his own studio opened the door to a lot of experimentation. The result was ‘Transcendental Blues’ which Steve Earle enthusiasts would rate as one of his best albums. The rollicking Irish jig is one of many great songs on this diverse album. In just over three minutes Earle takes you on an emotional tour of his latest infatuation. The irony here is Steve Earle has been married seven times. Falling in love has never been a challenge for Earle. ‘Galway Girl’ is enhanced by the quality musicianship that includes Redmond herself on bodhran, Sharon Shannon on accordion, Mary Shannon on banjo, Liz and Yvonne Kane on fiddle, Bill Wright on bouzouki and Dan Gillis on tin whistle. I list these members of the group because they add so much to the authenticity. ‘Galway Girl’ emerged as a notable selection from the album that was nominated for a Grammy in the Best Contemporary Folk Album Category.

Ironically, Joyce Redmond was not from Galway. She was a native of Howth County, Dublin. That just didn’t have the same ring to it.

Here are the lyrics to this beautiful song:

Well, I took a stroll on the old long walk
Of a day-I-ay-I-ay
I met a little girl and we stopped to talk
Of a fine soft day-I-ay-I-ay
And I ask you, friend, what’s a fella to do?
‘Cause her hair was black and her eyes were blue
And I knew right then I’d be takin’ a whirl
‘Round the Salthill Prom with a Galway girlWe were halfway there when the rain came down
Of a day-I-ay-I-ay
She asked me up to her flat downtown
Of a fine soft day-I-ay-I-ay
And I ask you, friend, what’s a fella to do?
‘Cause her hair was black and her eyes were blue
I took her hand and I gave her a twirl
And I lost my heart to a Galway girl
When I woke up I was all alone
With a broken heart and a ticket home
And I ask you now, tell me what would you do
If her hair is black and her eyes were blue
I’ve traveled around, I’ve been all over this world
Boys, I ain’t never seen nothin’ like a Galway girl

On the Emerald Isle ‘Galway Girl’ became a favourite as well. So much so, that Sharon Shannon and Mundy recorded a version in 2008 that became a monstrous hit in their home country. Not only is ‘Galway Girl’ the eighth highest selling song in Irish chart history, it is one of the most covered songs and a favourite of musicians of all styles, who love to apply their interpretations. The Mundy version spent five weeks on the Irish singles chart. Irish eyes were smiling even more when Mundy recorded a version of the song in Irish language and added it to a native compilation which was released to raise money for Irish charities.

Here is a live version. It sends chills. Between the musicianship, the story and the enthusiastic audience you feel like you are walking along The Long Walk with your very own ‘Galway Girl’. Just beautiful.

Here is the ‘Irish’ version for St. Patrick’s Day traditionalists.

“Kiss the wearer o’ the green”.

“The future is not ours to know, and it may never be- so let us live and give our best and give it lavishly!”

As a quick aside here is ‘Galway Girl’ by the immensely talented Ed Sheeran. A totally different song but the same title.

Kudos to Sheeran on a fantastic song that pays homage to traditional Irish music and blends the talents of an Irish folk band called Beoga. The more I listen to Ed Sheeran, the more I like him.

Love Yourself – Today’s classic song with versions by each of the main collaborators. #MusicisLife #TedTocksCovers #EdSheeran #JustinBieber

February 17, 2019February 13, 2019 ~ tedlindsay0170 ~ Leave a comment

Love Yourself

Happy Birthday to the multi-talented Ed Sheeran. He turns 28 today and he has definitely packed a lot of success into a relatively short period of time.

Today’s song is ‘Love Yourself’ which is technically a Justin Bieber song that was co-written by Sheeran, Bieber and American record producer Benny Blanco. It was released as a promotional single in late 2015 and then later released as the third single on Bieber’s fourth album ‘Purpose’. It is a blatant shot at a narcissistic ex-lover who did the protagonist wrong. For those of you thinking a Justin Bieber/Ed Sheeran song is kind of out of place in the Ted Tocks spectrum you are right however there is a personal connection.

When my son Nathaniel was in grade 10 and he had a bit of a fatal attraction and things went a little sideways. After a series of incidents that we won’t get into, he was forced to put an end to things and he stamped the demise of the relationship by posting this song on Facebook. There was no accompanying explanation; just this song which was a clear enough message for those who were in the know. Nobody crosses a Johnston-Lindsay. He actually taught himself to play the song on guitar and do the vocal accompaniment. He is actually pretty good. All of this is to say the song began to strike a chord with me. Watching him play it and listening to the phrasings and interesting structure brought the song into my music world and I took on an appreciation of Bieber but even more; Ed Sheeran. The red headed English phenom caught my interest several years ago with his incredible version of ‘Masters of War’ by Bob Dylan. From that point on I have given each of his releases close attention and I am always impressed. He has substance. I am also gaining some respect for Justin Bieber because he seems to be growing up.

Back to ‘Love Yourself’; the song spent nearly half of 2016 on the Billboard Hot 100. You couldn’t go anywhere without hearing it. Bieber let the world know he was working with Sheeran on a song during a morning show in Australia. He was excited because the song took him back to his roots. Just him and his guitar. The songwriting process was drawn from shared personal experiences. In describing the song’s lyrics Justin Bieber says it was…

“cool because so many people can resonate with that because how many women do we bring back that mom doesn’t really necessarily like?”

For the record Heather and I were never too sure about the girlfriend Nathaniel had become attached to. Warning signs about her possessiveness, jealousy and overall pettiness were all over the place but we had made a pact long ago that we would do our best to avoid interference with the boy’s romantic interests. Earlier in our lives we learned the hard way that such intrusions could have negative consequences. Nathaniel, to his credit figured it out on his own and ended things with diplomacy and the aforementioned commentary on social media. Oh…the power of music.

So, I led with a version by Ed Sheeran in honour of his co-writing credit and his birthday. Here is the Justin Bieber version. The choreography in this is video is fantastic. It features a couple; Keone and Mari Madrid dancing through their house. As of late last year the video has been viewed over 1.4 billion times. Typical of me; I had never seen it until writing this post. I am not one to rush into these ‘fads’. If I was a ‘60s child I likely would have held out on the Beatles until about 1972.

Tag: Ed Sheeran